A couple of days ago, a cam bootleg of Soderbergh’s “Che, el argentino” surfaced online. I wanted to wait for a better version before posting, and now we have one.¬† (Yahoo Espa√±a source.)
It was already clear that the film is stunningly photographed, even in bootleg quality, and this sharper video reveals a terrific richness and authenticity of historic texture. Shot by Roderick Jaynes’ cousin *cough*, “Peter Andrews” (a.k.a., Soderbergh himself), Che appears to seamlessly match actual footage so skillfully that it feels as real as a vintage documentary.¬† On the basis of this first look alone, I’m tempted to start making noise about n*m*n*t**ns, but you know my habit of jumping the gun so I’ll try to get a grip. Can I at least say that this is unequivocally the best trailer I’ve seen all year?
Soderbergh talks about using the, um, revolutionary new digital camera, Red One, after the cut.
Director Steven Soderbergh has shot his two features recently screened at the Cannes Film Festival: Guerrilla and The Argentine entirely with the Red One camera. Soderbergh is very enthusiastic about the camera, saying that “this is the camera I’ve been waiting for my whole career: jaw-dropping imagery recorded onboard a camera light enough to hold with one hand. I don’t know how Jim and the Red team did it‚Äîand they won’t tell me‚Äîbut I know this: Red is going to change everything.”